James-Mangold Movie Reviews

Something new under the sun: there's no formula to this picture. Each action and emotion logically follows the one before, instead of being contrived to fit into some form. This isn't hero-wants-girl, hero-loses-weight, hero-gets-girl, or the opposite, where the hero displays the fatal flaw which will hold him back all his life.

If you are used to the Hollywood formula, you won't know what's going to happen next, though by intuition, you will figure it out eventually, because these are real people; you know people like these-- unless you've lived in Levittown all your life, in which case you should see this film because you need the education.

Brilliant performances all around. I bought this video because I'm a Deborah Harry fan, and here she proves her natural acting skills once again. She is so good, it's difficult to remember that in her career, she has not been primarily an actress. Shelley Winters is great. Everyone is wonderful. The lead actor has very few lines, because he is a loner, but he is so good, he communicates without having to speak.

The film is slow-paced, but not plodding. I didn't notice time pass as I watched it. The beat is steady, and I was caught up in its rhythm. I couldn't stop watching, not to eat or let the dog out. This is a beautiful film.

This is terrific movie to own. It's practically a masterpiece of subtle and uspoken communication. Liv Tyler is luminously beautiful and Pruitt Taylor Vince is heartbreakingly great in a part that is so non-verbal that it's practically a silent film role. The movie proves that a film can be sweet without being cloying. The photography and music are perfect. Director James Mangold seems to have lost his way with his recent films, but this one is a gem.

amazingly beautiful and well-directed. Director James Mangold lost his sense in his recent films but he does great in this movie. Not to mention, acting is all great.

Disturbing look at mental illness, what passes as mental illness, a lack of hope for long term recovery and how human these people really are. Sad, touching, honest, comic moments, and thought-provoking.

I don't usually watch the Oscar's because for many years, people and movies I expect to win, never do. So, when I see a DVD that has "Oscar nominee" or "Academy Award Winner" and even "One of the best films of the year!" on the covers, I tend to say.."yeah, right! Whatever..."

I purchased the DVD of "GIRL, INTERRUPTED" and one of the driving forces for me to buy this is for the acting of Winona Ryder (watch her eyes because those emotions are within the eyes) and Angelina Jolie that is currently the eye candy for many entertainment magazines at this time.

After watching this movie, I must say that I was actually very pleased with the storyline. It's actually a very good story and the interaction among the girls was really interesting. James Mangold said in the director's commentary that it was about adding conflict and the conflicts between Susanna and Lisa or Susanna and her nurse and of course Susanna with Susanna is very well done.

Winona Ryder is a talented actress and again her eyes play a big part in this movie. In fact, the HBO First Look: "The Making of GIRL, INTERRUPTED" goes into that. As for Angelina Jolie, she did a perfect job in playing Lisa. With all the rumors and news going around, sometimes I wonder if Angelina and Lisa share anything in common. She deserves the Academy Award for playing a convincing sociopath.

The video quality of the movie is pretty good but there are noticeable artifacts during the dark scenes. The audio is good and you don't get so much because it's a dialogue driven movie. I think the only time I heard sounds from the speakers is when they rode on the VW van and you hear the engine.

What about the extras? Well, first, let's be thankful they made it anamorphic and they included the director's commentary, deleted scenes and an isolated music score. The HBO making of is very interesting to watch and the theatrical trailers for Winona and Angelina's movies were a nice touch.

So, overall you get a pretty good DVD with a pretty good story. Some might deem this as more of a movie more for women but I think both genders can enjoy this movie. It has a nice blend of drama, comedy and a few dark moments. Check it out!

"Girl, Interrupted", one of the best dramatic films in 2000, brings a darker side of life to the screen, not only referring to the time period, but also to the subject matter. Set in the turbulent late 1960s, a time of drugs, politics, and war, it follows the life of Susanna Kaysen, more specifically her two year stay at the famed McLean Psychiatric Hospital. Diagnosed with a "borderline personality disorder", she chooses not to conform to the wishes of the head nurse (Whoopi Goldberg) and psychiatrist (Vanessa Redgrave), but to instead befriend the resident women around her. Among them, a girl who will only eat her father's chicken, a woman who loves "Alice In Wonderland", and a charmingly charismatic sociopath Lisa (Angelina Jolie), the self proclaimed ringleader of the group. But confronted with the reality of it all and the looming need to be "fixed" Susanna soon realizes that to truly escape and taste her freedom, she will need to confront her biggest fear: herself. Winona Ryder, with an air of innocense and a tremendously realistic range of emotions and talents, has one of the best performances in her career as Susanna, and Angelina Jolie delivers a jaw-dropping (and well-earned Oscar- winning) performance as the troubled Lisa. Although this film is not for the weak at heart (it has disturbing self-mutilation/suicide scenes), it is wonderful in the sense it paints a realistic picture free of inhabitions and boundaries to create a truly remarkable film achievement.

Disturbing look at mental illness, what passes as mental illness, a lack of hope for long term recovery and how human these people really are. Sad, touching, honest, comic moments, and thought-provoking.

I don't usually watch the Oscar's because for many years, people and movies I expect to win, never do. So, when I see a DVD that has "Oscar nominee" or "Academy Award Winner" and even "One of the best films of the year!" on the covers, I tend to say.."yeah, right! Whatever..."

I purchased the DVD of "GIRL, INTERRUPTED" and one of the driving forces for me to buy this is for the acting of Winona Ryder (watch her eyes because those emotions are within the eyes) and Angelina Jolie that is currently the eye candy for many entertainment magazines at this time.

After watching this movie, I must say that I was actually very pleased with the storyline. It's actually a very good story and the interaction among the girls was really interesting. James Mangold said in the director's commentary that it was about adding conflict and the conflicts between Susanna and Lisa or Susanna and her nurse and of course Susanna with Susanna is very well done.

Winona Ryder is a talented actress and again her eyes play a big part in this movie. In fact, the HBO First Look: "The Making of GIRL, INTERRUPTED" goes into that. As for Angelina Jolie, she did a perfect job in playing Lisa. With all the rumors and news going around, sometimes I wonder if Angelina and Lisa share anything in common. She deserves the Academy Award for playing a convincing sociopath.

The video quality of the movie is pretty good but there are noticeable artifacts during the dark scenes. The audio is good and you don't get so much because it's a dialogue driven movie. I think the only time I heard sounds from the speakers is when they rode on the VW van and you hear the engine.

What about the extras? Well, first, let's be thankful they made it anamorphic and they included the director's commentary, deleted scenes and an isolated music score. The HBO making of is very interesting to watch and the theatrical trailers for Winona and Angelina's movies were a nice touch.

So, overall you get a pretty good DVD with a pretty good story. Some might deem this as more of a movie more for women but I think both genders can enjoy this movie. It has a nice blend of drama, comedy and a few dark moments. Check it out!

"Girl, Interrupted", one of the best dramatic films in 2000, brings a darker side of life to the screen, not only referring to the time period, but also to the subject matter. Set in the turbulent late 1960s, a time of drugs, politics, and war, it follows the life of Susanna Kaysen, more specifically her two year stay at the famed McLean Psychiatric Hospital. Diagnosed with a "borderline personality disorder", she chooses not to conform to the wishes of the head nurse (Whoopi Goldberg) and psychiatrist (Vanessa Redgrave), but to instead befriend the resident women around her. Among them, a girl who will only eat her father's chicken, a woman who loves "Alice In Wonderland", and a charmingly charismatic sociopath Lisa (Angelina Jolie), the self proclaimed ringleader of the group. But confronted with the reality of it all and the looming need to be "fixed" Susanna soon realizes that to truly escape and taste her freedom, she will need to confront her biggest fear: herself. Winona Ryder, with an air of innocense and a tremendously realistic range of emotions and talents, has one of the best performances in her career as Susanna, and Angelina Jolie delivers a jaw-dropping (and well-earned Oscar- winning) performance as the troubled Lisa. Although this film is not for the weak at heart (it has disturbing self-mutilation/suicide scenes), it is wonderful in the sense it paints a realistic picture free of inhabitions and boundaries to create a truly remarkable film achievement.

With a cast and a plot " à la Scorsese " , James Mangold's COP LAND unfortunately isn't even an half " à la Scorsese " movie. Like Freddy "Sylvester Stallone" Heflin, COP LAND is slow, heavy and so evident. Just imagine that the director, in order to make us understand that the Sheriff Heflin is not fighting for the world record of smartness per square/kilo, films during long minutes a turtle, the little toy of his girlfriend's daughter.

But I did have a huge pleasure to admire Sylvester Stallone in this role which seems to have been written specially for him. Besides, Ray Liotta, Harvey Keitel and Robert DeNiro are great as usual. So COP LAND is an average movie that provides the kind of pleasure one can expect from an average movie (I agree, it's not the smartest thought of the year !).

If you want to see a great movie about corrupt cops, rent or buy Sidney Lumet's THE PRINCE OF THE CITY (alas, not in the DVD standard), you won't be disappointed.

A DVD for Sly.

When I first saw this flick I was pretty disappointed, but upon a second viewing it feels like the star power involved with the film lead people to expect too much from it. It was intended as Sylvester Stallone's return to serious films but, as it wasn't well received at the box office, Stallone's career has floundered in other lacklustre efforts. It reminded me of when Stallone did his most interesting work in the 70's, in F.I.S.T., Victory, Rocky (which many people don't realize he wrote) and even First Blood. He's almost unrecognizable here as Freddy Heflin, the Sheriff of a small Jersey town that's populated by New York City cops. Overweight and weary-looking, the Sheriff always wanted to be an NYC cop but an injury that left him partially deaf, while saving the life of Annabella Sciorra, prevents that. Harvey Keitel is a corrupt cop who makes Garisson NJ a safe haven for his fellow police officers. When his nephew 'Superboy', played by Michael Rappaport, gets involved in the shooting of two young black teenagers, there is a cover up by Kietel to avoid a possible racial incident. Robert DeNiro is the Internal Affairs officer investigating the scenario and Ray Liotta is a former colleague of Kietel's, who acts as Stallone's confidante. Stallone is really likeable here, as a lumpy, wishy-washy sheriff whose authority is never taken seriously because he never displays any backbone. This is the Stallone that I liked from the first Rocky movie; humble and easy-going, not the testosterone-pumped megastar of the 80s. There's a sense of sadness and loneliness that reveals as much about the actor as the character he's playing. The scene where he's in his room alone, listening to a sad Bruce Springsteen song, reveals in Stallone a talent that has been sadly neglected in the various blockbusters he's starred in. Ray Liotta, however, steals the film from everyone else. He takes a despicable character and makes him the most out of him. He's so good at playing unwashed, ill-natured characters that you can almost smell the grease coming off him. Unkempt, overweight and quick-tempered he's entirely believeable in his portayal of a cynical cop who has had enough of the corruption. His is the most human and complex of all the movie's characters. Liotta should be a star. Kietel is suitably menacing as the ringleader of the crooked police crew. Everything he does is to protect his own interests and he mercilessly rids himself of anyone who stands in his way. Unfortunately, a lot of the parts in the film are minor and DeNiro, Sciorra, Rappaport, Robert Patrick and Jeneane Garofolo are woefully underutilized. It's precisely because of the overabundance of talented cast members that the film gets hampered by it's own ambition and audience expectations. It would have worked better with more unknowns. The story in itself is well crafted and the revelations of the extent of police corruption smacks of truth. The ending is somewhat unsatisfying, but the film was truly a lot better than the reviews it got at the time suggest. Poor Sly. This really could have been a wonderful rebirth for him.

The movie Cop Land combines long lost talent in its leading star, Sylvester Stallone; top notch performances from its supporting cast, Ray Liotta, Robert Deniro, Harvey Keitel, and Annabella Sciorra; wonderful cinematography by Eric Edwards; and brilliant direction of James Mangold who later went on to direct such hits as Kate And Leopold, Identity, and Girl Interrupted.

Cop Land is a fictional tale of crime and corruption in a city run and occupied by New York's unfinest cops. Stallone pulls it off excellently as the city's overweight sherrif, Freddie Heflin, who couldn't get into to the force on account of his deaf ear. When the police force covers up a cop shooting that leaves two innocent men dead and stages a hero story, its up to Sherrif Heflin to reveal the truth and bring order to the city known to everybody as Cop Land.

The movie features an outstanding performance by Robert Deniro as an FBI agent trying to uncover the deceptions and opens Heflin's eyes to the corruption around him.

A memorable film with an even more memorable ensemble cast.

With a cast and a plot " à la Scorsese " , James Mangold's COP LAND unfortunately isn't even an half " à la Scorsese " movie. Like Freddy "Sylvester Stallone" Heflin, COP LAND is slow, heavy and so evident. Just imagine that the director, in order to make us understand that the Sheriff Heflin is not fighting for the world record of smartness per square/kilo, films during long minutes a turtle, the little toy of his girlfriend's daughter.

But I did have a huge pleasure to admire Sylvester Stallone in this role which seems to have been written specially for him. Besides, Ray Liotta, Harvey Keitel and Robert DeNiro are great as usual. So COP LAND is an average movie that provides the kind of pleasure one can expect from an average movie (I agree, it's not the smartest thought of the year !).

If you want to see a great movie about corrupt cops, rent or buy Sidney Lumet's THE PRINCE OF THE CITY (alas, not in the DVD standard), you won't be disappointed.

A DVD for Sly.

When I first saw this flick I was pretty disappointed, but upon a second viewing it feels like the star power involved with the film lead people to expect too much from it. It was intended as Sylvester Stallone's return to serious films but, as it wasn't well received at the box office, Stallone's career has floundered in other lacklustre efforts. It reminded me of when Stallone did his most interesting work in the 70's, in F.I.S.T., Victory, Rocky (which many people don't realize he wrote) and even First Blood. He's almost unrecognizable here as Freddy Heflin, the Sheriff of a small Jersey town that's populated by New York City cops. Overweight and weary-looking, the Sheriff always wanted to be an NYC cop but an injury that left him partially deaf, while saving the life of Annabella Sciorra, prevents that. Harvey Keitel is a corrupt cop who makes Garisson NJ a safe haven for his fellow police officers. When his nephew 'Superboy', played by Michael Rappaport, gets involved in the shooting of two young black teenagers, there is a cover up by Kietel to avoid a possible racial incident. Robert DeNiro is the Internal Affairs officer investigating the scenario and Ray Liotta is a former colleague of Kietel's, who acts as Stallone's confidante. Stallone is really likeable here, as a lumpy, wishy-washy sheriff whose authority is never taken seriously because he never displays any backbone. This is the Stallone that I liked from the first Rocky movie; humble and easy-going, not the testosterone-pumped megastar of the 80s. There's a sense of sadness and loneliness that reveals as much about the actor as the character he's playing. The scene where he's in his room alone, listening to a sad Bruce Springsteen song, reveals in Stallone a talent that has been sadly neglected in the various blockbusters he's starred in. Ray Liotta, however, steals the film from everyone else. He takes a despicable character and makes him the most out of him. He's so good at playing unwashed, ill-natured characters that you can almost smell the grease coming off him. Unkempt, overweight and quick-tempered he's entirely believeable in his portayal of a cynical cop who has had enough of the corruption. His is the most human and complex of all the movie's characters. Liotta should be a star. Kietel is suitably menacing as the ringleader of the crooked police crew. Everything he does is to protect his own interests and he mercilessly rids himself of anyone who stands in his way. Unfortunately, a lot of the parts in the film are minor and DeNiro, Sciorra, Rappaport, Robert Patrick and Jeneane Garofolo are woefully underutilized. It's precisely because of the overabundance of talented cast members that the film gets hampered by it's own ambition and audience expectations. It would have worked better with more unknowns. The story in itself is well crafted and the revelations of the extent of police corruption smacks of truth. The ending is somewhat unsatisfying, but the film was truly a lot better than the reviews it got at the time suggest. Poor Sly. This really could have been a wonderful rebirth for him.

The movie Cop Land combines long lost talent in its leading star, Sylvester Stallone; top notch performances from its supporting cast, Ray Liotta, Robert Deniro, Harvey Keitel, and Annabella Sciorra; wonderful cinematography by Eric Edwards; and brilliant direction of James Mangold who later went on to direct such hits as Kate And Leopold, Identity, and Girl Interrupted.

Cop Land is a fictional tale of crime and corruption in a city run and occupied by New York's unfinest cops. Stallone pulls it off excellently as the city's overweight sherrif, Freddie Heflin, who couldn't get into to the force on account of his deaf ear. When the police force covers up a cop shooting that leaves two innocent men dead and stages a hero story, its up to Sherrif Heflin to reveal the truth and bring order to the city known to everybody as Cop Land.

The movie features an outstanding performance by Robert Deniro as an FBI agent trying to uncover the deceptions and opens Heflin's eyes to the corruption around him.

A memorable film with an even more memorable ensemble cast.

This 2003 film is a mystery as well as a horror film. Ten strangers are stranded in a desolate motel on a stormy night. One by one they are getting murdered. It's a classic mystery as the guilt seems to fall on several characters. There's also an interconnected story about a murderer whose psychiatrist is trying to get a last minute reprieve.

John Cusack plays the part of a limousine driver who has once been a cop. Ray Liotta plays a cop who's transporting a prisoner. There's also a newly married couple who argue a lot, a prostitute who's giving up her way of life and another woman who's been injured in a accident as well as her husband and young son who never speaks a word. There's also a strange motel clerk with secrets of his own.

But this is not a usual "whodunit". No way. The connection between the individuals in the motel is much stranger than that. And when this connection is finally revealed, I was annoyed. To my humble tastes, it was too contrived as it wanders into the unknown realms of the human psyche.

Yes, it held my interest. Yes, there was some good acting. But I hated the ending and felt the writer had played a rotten trick on the audience. That's why I can only give this film a lukewarm recommendation.

A bunch of people trapped in a small motel ,A huge storm is roaring outside and no body can get out ,All the communications has been cut off ,And one of them is wounded in an weird car accident before she reaches the motel ,They are completely strangers to each other ,And soon things starts to take a dark curve with people turning up dead one by one ,They discovers that the killings is taking a sequential queue ,Till this point things are pretty normal for your ordinary thriller which you can find any where including many of the straight to video titles ,But after that the movie tends towards the unknown....hideous truth .

I haven't known before that IDENTITY may have taken reference from a story by Agatha Christie called (Ten Little Indians) until I have read that in one of the British movie magazines , But that doesn't mean that this IDENTITY is limited to the usual boundaries of ordinary thrillers ,It just took the primal concept from the books where the same events of completely unrelated characters are gathered in one place and after that the serial killings begins ,And after that the story took flight in a whole new lands of imagination ,And in my opinion this is the first strength point of IDENTITY .

The movie succeeded in creating a terrifying atmosphere with using of rain and darkness to give the viewers the feel of trapness of the characters gathered there ,The plot seemed to fly from a point to another without stopping ,Things are revealed and relations are formed but thankfully in unstereotypical method ,The Screenplay written by Michael Cooney gave every character almost an equal share of the screen time depends on the situation and the events paths ,And didn't represent any insignificant character so you have your concerns about all of them ,And Director James Mangold was very good in controlling such brilliant actors like Ray Liotta and John Cusack who both delivered a top notch performance especially from cusack who was very indulged in his role to the maximum degree .

IDENTITY doesn't give you a chance to nod off ,It totally grips you from the first moments ,And the most important Excellency feature is that the ability to create twists without giving the viewer any feeling that the represented twist was put there intentional just to satisfy the viewers hungry for a plot's twist in every thriller they see ,Actually The main twist in the third third of the movie into higher land ,And was a good model for what should the twists made ,It completely blows your expectations away ,And it really gave this movie a very creepy feeling .

IDENTITY is a very respectful thriller ,Created with brilliance and talent ,Only some insignificant sequences during the last twenty moments prohibits it from getting the five stars rating ,But that MUSTN'T stop you from watching ,You will remain dizzy minded after watching it for no less than long time .

"Identity" is a unique horror movie that lives in the audience's mind forever. Every detail keeps everyone waiting for the next scene. Most occurances are deceiving; therefore, one must listen closely to fully understand the plot. The deceits keep the audience anxiously awaiting the next movie viewing. Many sudden impact surprises keep the audience's hearts pounding in tremendous startlation.

A family drives down a deserted road as a woman's high heel pops a tire. As they wonder how it stumbled there, the step-father witnesses his wife getting hit by a car by an ex-cop, turned limo driver. The group rushes for the nearest hospital, but the roads are flooded. Their only safe shelter is a hotel. The owner of the high heel, two newlyweds, and cop/convict are surrounded by the flood waters. As they stumble upon the injury sight, they try to help assure the injured woman's survival. Little do they know that the worse is yet to happen. Their relation toward one another becomes crutial in discovering why this is happening to them.

John Cusack, Ray Liotta, Amanda Peet, Clea DuVall, Jake Busey, Alfred Molina, and others wonderfully act in this thriller. Their individual storylines give the audience the added experience. Cusack achieves the most demanding role of the movie. The underrated DuVall proves in acting her character's drama that she will be a star in the years to come.

"Identity" is a movie for everyone looking for a great thrill ride. Missing a single second will miss a crutial part in the movie. One will not be disappointed. Some must watch it more than once to fully understand all the truths, but one will be glad they did.

This 2003 film is a mystery as well as a horror film. Ten strangers are stranded in a desolate motel on a stormy night. One by one they are getting murdered. It's a classic mystery as the guilt seems to fall on several characters. There's also an interconnected story about a murderer whose psychiatrist is trying to get a last minute reprieve.

John Cusack plays the part of a limousine driver who has once been a cop. Ray Liotta plays a cop who's transporting a prisoner. There's also a newly married couple who argue a lot, a prostitute who's giving up her way of life and another woman who's been injured in a accident as well as her husband and young son who never speaks a word. There's also a strange motel clerk with secrets of his own.

But this is not a usual "whodunit". No way. The connection between the individuals in the motel is much stranger than that. And when this connection is finally revealed, I was annoyed. To my humble tastes, it was too contrived as it wanders into the unknown realms of the human psyche.

Yes, it held my interest. Yes, there was some good acting. But I hated the ending and felt the writer had played a rotten trick on the audience. That's why I can only give this film a lukewarm recommendation.

A bunch of people trapped in a small motel ,A huge storm is roaring outside and no body can get out ,All the communications has been cut off ,And one of them is wounded in an weird car accident before she reaches the motel ,They are completely strangers to each other ,And soon things starts to take a dark curve with people turning up dead one by one ,They discovers that the killings is taking a sequential queue ,Till this point things are pretty normal for your ordinary thriller which you can find any where including many of the straight to video titles ,But after that the movie tends towards the unknown....hideous truth .

I haven't known before that IDENTITY may have taken reference from a story by Agatha Christie called (Ten Little Indians) until I have read that in one of the British movie magazines , But that doesn't mean that this IDENTITY is limited to the usual boundaries of ordinary thrillers ,It just took the primal concept from the books where the same events of completely unrelated characters are gathered in one place and after that the serial killings begins ,And after that the story took flight in a whole new lands of imagination ,And in my opinion this is the first strength point of IDENTITY .

The movie succeeded in creating a terrifying atmosphere with using of rain and darkness to give the viewers the feel of trapness of the characters gathered there ,The plot seemed to fly from a point to another without stopping ,Things are revealed and relations are formed but thankfully in unstereotypical method ,The Screenplay written by Michael Cooney gave every character almost an equal share of the screen time depends on the situation and the events paths ,And didn't represent any insignificant character so you have your concerns about all of them ,And Director James Mangold was very good in controlling such brilliant actors like Ray Liotta and John Cusack who both delivered a top notch performance especially from cusack who was very indulged in his role to the maximum degree .

IDENTITY doesn't give you a chance to nod off ,It totally grips you from the first moments ,And the most important Excellency feature is that the ability to create twists without giving the viewer any feeling that the represented twist was put there intentional just to satisfy the viewers hungry for a plot's twist in every thriller they see ,Actually The main twist in the third third of the movie into higher land ,And was a good model for what should the twists made ,It completely blows your expectations away ,And it really gave this movie a very creepy feeling .

IDENTITY is a very respectful thriller ,Created with brilliance and talent ,Only some insignificant sequences during the last twenty moments prohibits it from getting the five stars rating ,But that MUSTN'T stop you from watching ,You will remain dizzy minded after watching it for no less than long time .

"Identity" is a unique horror movie that lives in the audience's mind forever. Every detail keeps everyone waiting for the next scene. Most occurances are deceiving; therefore, one must listen closely to fully understand the plot. The deceits keep the audience anxiously awaiting the next movie viewing. Many sudden impact surprises keep the audience's hearts pounding in tremendous startlation.

A family drives down a deserted road as a woman's high heel pops a tire. As they wonder how it stumbled there, the step-father witnesses his wife getting hit by a car by an ex-cop, turned limo driver. The group rushes for the nearest hospital, but the roads are flooded. Their only safe shelter is a hotel. The owner of the high heel, two newlyweds, and cop/convict are surrounded by the flood waters. As they stumble upon the injury sight, they try to help assure the injured woman's survival. Little do they know that the worse is yet to happen. Their relation toward one another becomes crutial in discovering why this is happening to them.

John Cusack, Ray Liotta, Amanda Peet, Clea DuVall, Jake Busey, Alfred Molina, and others wonderfully act in this thriller. Their individual storylines give the audience the added experience. Cusack achieves the most demanding role of the movie. The underrated DuVall proves in acting her character's drama that she will be a star in the years to come.

"Identity" is a movie for everyone looking for a great thrill ride. Missing a single second will miss a crutial part in the movie. One will not be disappointed. Some must watch it more than once to fully understand all the truths, but one will be glad they did.

It never fails. The ol' romantic comedy formula:

1. Boy A likes Girl B
2. Girl B likes Boy A
3. They break up near the end for some reason.
4. They get back together by the end of the film.

This formula has been so overused that when we hit #3 we already know they're going to get back together again, and its so predictable its almost a pain to sit through the next thirty minutes of film. "Kate and Leopold" is no exception.

The plot itself stinks to high heaven. A guy in New York living in an apartment discovers holes in the space time continuom. Huh? This allows him to go back in time to the 19th century and accidentally bring back a rich dignitary to the 20th century. The already predictable scenes of past meets present (see "The Jetsons Meet the Flintstons" for reference) ensue, and then the love story breaks out. The formula begins.

The formula kills the movie. Meg Ryan breaks up with Leopold at the end for no real discernable reason. I guess it was not wanting to be in a commercial...but is that really a good reason to break up with some one? Later she feels bad, but I seriously stopped caring once it was revealed how shallow her character was.

I guess if you like this genre, get this movie...otherwise, stay far far away

Kate McKay is a successful business executive for a big market research company, her life is turned upside down after meeting Leopold, the Duke of Albany from the 19th century who accidentally followed her ex-boyfriend Stuart back through a time portal. When sparks fly between these two and love develops, how will they ever make the relationship work?

Kate & Leopold is one of those movie with a very deceiving trailer, the kind that makes the film looks more interesting than it actually is. Don't get me wrong, it was an ok movie...for the first hour, but somewhere in the middle it took a nose dive. What ruined the experience for me is towards the end when they start trying to explain the time traveling with all the techno-babble, and it plays about half an hour too long. The characters are likeable for the most part, Hugh Jackman is especially charming as Leopold, handsome and chivalrous, I really enjoyed his performance. Meg Ryan on the other hand is boring, her portrayal of Kate is the same as all the other romantic comedy roles she's done in the past (i.e. You've Got Mail, Sleepless In Seattle, When Harry Meet Sally, etc...) I think it's time for her to start branching out to other genre, she's just not very exciting to watch any more. Breckin Meyer plays Kate's brother Charlie, an out of work actor, he had all the great lines and funny dialogues in the film; unfortunately Liev Schreiber was quite underused as Stuart, I would've liked to see him more.

Sweet, filled with plot holes, and ultimately forgettable, Kate & Leopold is your standard romance comedy you've probably seen a hundred times before. I recommend waiting until it comes on video, otherwise catch an early show if you must see it in the theater.

With the string of mostly clean, viewer friendly movies I've been seeing lately! Movies I LOVE, without ANY scenes that I'm embarrassed to watch with my parents. Kate and Leopold is another old-fashioned, clean-cut new classic, joining the other new, family friendly films such as The Majestic, Lord of the Rings, Star Wars Episode 2, and Spider-Man!
Kate and Leopold is the story of two lonely people from different times. Leopold (Hugh Jackman) is a young duke from the 19th century, who's family has moved to America and squandered away their fortune. As a result, Leopold is now being forced to choose a wife. The problem is, Leopold is not in love. Kate (Meg Ryan) on the other hand, is a New York City girl who has recently and bitterly broken up with her longtime boyfriend, Stuart, an inventor who has discovered a portal through time. Stuart leaps through his new discovery and unintentionally brings Leopold, his great, great, great (I forget how great exactly) grandfather, back with him to modern day New York City. From here we get a charming fish out of water love story reminiscent of Splash, but maybe a little less bizarre. Just a little. While Stuart is in the hospital recovering from an elevator accident, Leopold charms his way into various people's hearts, and becomes a bit of a role model for Kate's younger brother, Charlie. Eventually, Leopold even manages to charm his way into Kate's battered heart, and, being Meg Ryan, she manages to charm him right back. But while this odd romance is blossoming, Stuart is telling his time portal story to the hospital doctors and nurses, who take it all in with more than a grain of salt. He soon finds himself in a psychiatric ward, desperate to break out and find his way back to his ancestor and the time portal. He fears that if he doesn't send Leopold back to his own time soon, he, himself, will cease to exist!
Kate and Leopold reminds us that a film can be funny, heartwarming, sweet and charming, without a lot of foul language, gratuitous footage, and innuendo. This is simply a charming love story, with endearing characters and a touch of fantasy. There's nothing more to say about it, except that you should pick up a copy today!

It never fails. The ol' romantic comedy formula:

1. Boy A likes Girl B
2. Girl B likes Boy A
3. They break up near the end for some reason.
4. They get back together by the end of the film.

This formula has been so overused that when we hit #3 we already know they're going to get back together again, and its so predictable its almost a pain to sit through the next thirty minutes of film. "Kate and Leopold" is no exception.

The plot itself stinks to high heaven. A guy in New York living in an apartment discovers holes in the space time continuom. Huh? This allows him to go back in time to the 19th century and accidentally bring back a rich dignitary to the 20th century. The already predictable scenes of past meets present (see "The Jetsons Meet the Flintstons" for reference) ensue, and then the love story breaks out. The formula begins.

The formula kills the movie. Meg Ryan breaks up with Leopold at the end for no real discernable reason. I guess it was not wanting to be in a commercial...but is that really a good reason to break up with some one? Later she feels bad, but I seriously stopped caring once it was revealed how shallow her character was.

I guess if you like this genre, get this movie...otherwise, stay far far away

Kate McKay is a successful business executive for a big market research company, her life is turned upside down after meeting Leopold, the Duke of Albany from the 19th century who accidentally followed her ex-boyfriend Stuart back through a time portal. When sparks fly between these two and love develops, how will they ever make the relationship work?

Kate & Leopold is one of those movie with a very deceiving trailer, the kind that makes the film looks more interesting than it actually is. Don't get me wrong, it was an ok movie...for the first hour, but somewhere in the middle it took a nose dive. What ruined the experience for me is towards the end when they start trying to explain the time traveling with all the techno-babble, and it plays about half an hour too long. The characters are likeable for the most part, Hugh Jackman is especially charming as Leopold, handsome and chivalrous, I really enjoyed his performance. Meg Ryan on the other hand is boring, her portrayal of Kate is the same as all the other romantic comedy roles she's done in the past (i.e. You've Got Mail, Sleepless In Seattle, When Harry Meet Sally, etc...) I think it's time for her to start branching out to other genre, she's just not very exciting to watch any more. Breckin Meyer plays Kate's brother Charlie, an out of work actor, he had all the great lines and funny dialogues in the film; unfortunately Liev Schreiber was quite underused as Stuart, I would've liked to see him more.

Sweet, filled with plot holes, and ultimately forgettable, Kate & Leopold is your standard romance comedy you've probably seen a hundred times before. I recommend waiting until it comes on video, otherwise catch an early show if you must see it in the theater.

With the string of mostly clean, viewer friendly movies I've been seeing lately! Movies I LOVE, without ANY scenes that I'm embarrassed to watch with my parents. Kate and Leopold is another old-fashioned, clean-cut new classic, joining the other new, family friendly films such as The Majestic, Lord of the Rings, Star Wars Episode 2, and Spider-Man!
Kate and Leopold is the story of two lonely people from different times. Leopold (Hugh Jackman) is a young duke from the 19th century, who's family has moved to America and squandered away their fortune. As a result, Leopold is now being forced to choose a wife. The problem is, Leopold is not in love. Kate (Meg Ryan) on the other hand, is a New York City girl who has recently and bitterly broken up with her longtime boyfriend, Stuart, an inventor who has discovered a portal through time. Stuart leaps through his new discovery and unintentionally brings Leopold, his great, great, great (I forget how great exactly) grandfather, back with him to modern day New York City. From here we get a charming fish out of water love story reminiscent of Splash, but maybe a little less bizarre. Just a little. While Stuart is in the hospital recovering from an elevator accident, Leopold charms his way into various people's hearts, and becomes a bit of a role model for Kate's younger brother, Charlie. Eventually, Leopold even manages to charm his way into Kate's battered heart, and, being Meg Ryan, she manages to charm him right back. But while this odd romance is blossoming, Stuart is telling his time portal story to the hospital doctors and nurses, who take it all in with more than a grain of salt. He soon finds himself in a psychiatric ward, desperate to break out and find his way back to his ancestor and the time portal. He fears that if he doesn't send Leopold back to his own time soon, he, himself, will cease to exist!
Kate and Leopold reminds us that a film can be funny, heartwarming, sweet and charming, without a lot of foul language, gratuitous footage, and innuendo. This is simply a charming love story, with endearing characters and a touch of fantasy. There's nothing more to say about it, except that you should pick up a copy today!

It never fails. The ol' romantic comedy formula:

1. Boy A likes Girl B
2. Girl B likes Boy A
3. They break up near the end for some reason.
4. They get back together by the end of the film.

This formula has been so overused that when we hit #3 we already know they're going to get back together again, and its so predictable its almost a pain to sit through the next thirty minutes of film. "Kate and Leopold" is no exception.

The plot itself stinks to high heaven. A guy in New York living in an apartment discovers holes in the space time continuom. Huh? This allows him to go back in time to the 19th century and accidentally bring back a rich dignitary to the 20th century. The already predictable scenes of past meets present (see "The Jetsons Meet the Flintstons" for reference) ensue, and then the love story breaks out. The formula begins.

The formula kills the movie. Meg Ryan breaks up with Leopold at the end for no real discernable reason. I guess it was not wanting to be in a commercial...but is that really a good reason to break up with some one? Later she feels bad, but I seriously stopped caring once it was revealed how shallow her character was.

I guess if you like this genre, get this movie...otherwise, stay far far away

Kate McKay is a successful business executive for a big market research company, her life is turned upside down after meeting Leopold, the Duke of Albany from the 19th century who accidentally followed her ex-boyfriend Stuart back through a time portal. When sparks fly between these two and love develops, how will they ever make the relationship work?

Kate & Leopold is one of those movie with a very deceiving trailer, the kind that makes the film looks more interesting than it actually is. Don't get me wrong, it was an ok movie...for the first hour, but somewhere in the middle it took a nose dive. What ruined the experience for me is towards the end when they start trying to explain the time traveling with all the techno-babble, and it plays about half an hour too long. The characters are likeable for the most part, Hugh Jackman is especially charming as Leopold, handsome and chivalrous, I really enjoyed his performance. Meg Ryan on the other hand is boring, her portrayal of Kate is the same as all the other romantic comedy roles she's done in the past (i.e. You've Got Mail, Sleepless In Seattle, When Harry Meet Sally, etc...) I think it's time for her to start branching out to other genre, she's just not very exciting to watch any more. Breckin Meyer plays Kate's brother Charlie, an out of work actor, he had all the great lines and funny dialogues in the film; unfortunately Liev Schreiber was quite underused as Stuart, I would've liked to see him more.

Sweet, filled with plot holes, and ultimately forgettable, Kate & Leopold is your standard romance comedy you've probably seen a hundred times before. I recommend waiting until it comes on video, otherwise catch an early show if you must see it in the theater.

With the string of mostly clean, viewer friendly movies I've been seeing lately! Movies I LOVE, without ANY scenes that I'm embarrassed to watch with my parents. Kate and Leopold is another old-fashioned, clean-cut new classic, joining the other new, family friendly films such as The Majestic, Lord of the Rings, Star Wars Episode 2, and Spider-Man!
Kate and Leopold is the story of two lonely people from different times. Leopold (Hugh Jackman) is a young duke from the 19th century, who's family has moved to America and squandered away their fortune. As a result, Leopold is now being forced to choose a wife. The problem is, Leopold is not in love. Kate (Meg Ryan) on the other hand, is a New York City girl who has recently and bitterly broken up with her longtime boyfriend, Stuart, an inventor who has discovered a portal through time. Stuart leaps through his new discovery and unintentionally brings Leopold, his great, great, great (I forget how great exactly) grandfather, back with him to modern day New York City. From here we get a charming fish out of water love story reminiscent of Splash, but maybe a little less bizarre. Just a little. While Stuart is in the hospital recovering from an elevator accident, Leopold charms his way into various people's hearts, and becomes a bit of a role model for Kate's younger brother, Charlie. Eventually, Leopold even manages to charm his way into Kate's battered heart, and, being Meg Ryan, she manages to charm him right back. But while this odd romance is blossoming, Stuart is telling his time portal story to the hospital doctors and nurses, who take it all in with more than a grain of salt. He soon finds himself in a psychiatric ward, desperate to break out and find his way back to his ancestor and the time portal. He fears that if he doesn't send Leopold back to his own time soon, he, himself, will cease to exist!
Kate and Leopold reminds us that a film can be funny, heartwarming, sweet and charming, without a lot of foul language, gratuitous footage, and innuendo. This is simply a charming love story, with endearing characters and a touch of fantasy. There's nothing more to say about it, except that you should pick up a copy today!